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One Last Thing About August ...

August is National Catfish Month

Now that August is basically over, here is my last chance to mention that it’s been National Catfish Month across this great, chowing-down, eater’s paradise of ours. Back in the late 1980s, the month of August was officially designated by mysterious entities as National Catfish Month. Today, seafood consumption in the United States exceeds 4.9 billion pounds annually and more catfish is now produced on a yearly basis in the United States than all other farmed fish combined. Personally, I’ll eat Catfish any way you serve it: blackened, broiled, grilled, poached or pan fried. At one time catfish was regarded as only a Southern staple. Times have changed. Diners nationwide have doubled their waistlines and their per capita consumption of Catfish since 1986, becoming the fourth most popular fish served in the United States.
 
Another thing, ninety-four percent of all Farm-Raised Catfish harvested in this country is from family-owned farms; many of these growers are second or third generation farmers. Today, the farm-raised Catfish industry employs more than 13,000 people and contributes more than $4 billion to the economy of states like Mississippi, Alabama, Arkansas and Louisiana.
 
Catfish is also a lean fish and is an excellent source of protein, low in saturated fat and is a moderate source of polyunsaturated (the good) fat and omega-3 fatty acids. According to a study published in the Journal of the American Medical Association, moderate fish consumption -- one to two meals a week -- may cut the risk of sudden cardiac death in half.
 
Anyway, why am I writing about catfish? Sometimes between art and movies and music you have to eat, and it might as well be something that isn’t absolute crap. Here is a great recipe from The Catfish Institute. So, throw on some good music (personally I’d go more old-school, maybe some Clifton Chenier), open up the right bottle of beer, maybe an Abita Amber, and enjoy some Catfish with a spicy fireworks rub. Bon Appetit!
 
Catfish with Spicy Fireworks Rub
Serves 4, this recipe makes enough spice rub to keep in your pantry and use many more times throughout the grilling season. (Sidenote: You can store the fireworks rub in a dark cupboard, away from heat; it will keep for two to three months.)
 
¼ cup (50 mL) chili powder
¼ cup (50 mL) ground cumin
¼ cup (50 mL) ground coriander
2 tbsp (30 mL) packed brown sugar
1 tbsp (15 mL) salt
1 tbsp (15 mL) red pepper flakes
2 tbsp (30 mL) freshly ground black pepper
4 U.S. Farm-Raised Catfish fillets, 6 to 8 oz (180 to 250 g) each
 
Preheat grill or broiler to high.
 
To make fireworks rub, mix spices in a bowl and spoon into a glass jar with tight-fitting lid.
 
Spray both sides of each catfish fillet lightly with vegetable oil.
 
Sprinkle 1 teaspoon (5 mL) of fireworks rub (or adjust to your taste) on each lightly oiled catfish fillet. Grill or broil over high heat for 3 ½ to 4 minutes per side or until the fish begins to flake when tested with a fork in the thickest part.
 
By the way, here’s some Skip James, “Catfish Blues,” and the great Clifton Chenier.


Posted by Whitmore on August 29, 2009 at 02:14pm | Comments (1)

Cash Money Records - The Independent Years (1991-1998)

CDs and audio cassettes
By now, anyone that reads this blog and is a fan of the many, great New Orleans labels that sprouted in the fertile hip-hop delta back in the '90s may've wondered why no Cash Money thusfar. Well, I've been working on it but the greatest of labels required a lot of work.Cash Money Records Independent Logo Hope you enjoy, wodie.

Back in the 1980s, the local rap scene in New Orleans began to take root with early rappers like Tim Smooth, Warren Mayes, Ninja Crew and New York Incorporated all making noise. The latter act featured Mia X, Denny D, DJ Wop and Mannie Fresh and was probably the first rap group in the city. After their dissolution, Fresh hooked up with former Ninja Crew member Gregory D and they released a handful of influential, if not very widely promoted records.

Posted by Eric Brightwell on July 31, 2009 at 11:25pm | Comments (6)

Big Boy Records

CDs, tapes, vinyl
For several years in the '90s, before Master P moved to New Orleans and gobbled up most of the talent Big Boy Records logoof the legendary Parkway Pumpin, Big Boy Records was one of the main creative and commercial rivals to uptown's fledgling Cash Money. Over the course of the next few years, they released some of New Orleans' indisputably finest (and under-recognized) bounce and rap music. They also got caught up in all-consuming rivalry with Cash Money that raged in tit-for-tat diss songs while at the same time many of their stars departed for bigger labels. When Cash Money and No Limit signed multi-million dollar deals with major labels, Big Boy floundered, only to be reborn years later on a smaller scale,

Big Boy Records
was founded by Charles "Big Boy" Temple and the talented producer, Leroy "Precise" Edwards, who was responsible for most of the varied but always warm, solid and organic sounds. Others involved in the production were " David "D-Funk" Faulk and Brian "Big Bass" Gardner.

1993
Big Boy's first signee was pioneering New Orleans raper Sporty T (Terence Vine). The Gentilly resident had previously been a founding member of The Ninja Crew -- New Orleans's first rap group to record. In the early '90s, inspired by hits by Juvenile and Everlasting Hitman's bounce hits, he moved in that  direction as well. The label's first single was "Sporty Talkin' Sporty." Though bounce, it had an uncharacteristically heavy sound for the genre. After it sold 4,000 copies, Big Boy sought out more talent.

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Posted by Eric Brightwell on June 16, 2009 at 08:53pm | Comments (9)

Mobo Records - West Bank's Finest

CDs and cassettes
Mobo Joe Records LabelIn the old days (the '80s), most New Orleans rap was released by labels from outside the state. Dallas's Yo! had handled Gregory D & Mannie Fresh and Tim Smooth. Ft. Lauderdale's famous bass label, 4 Sight, released Ninja Crew's "We Destroy." Juvenile was initially on New York's Warlock. When majors got involved, they invariably mis-handled the artists. Gregory D & Mannie Fresh moved to RCA; Warren Mayes and pioneering west bank rapper MC Thick signed to Atlantic.

All that changed following the bounce explosion of 1991. New Orleans's long established Soulin' Records finally got into the rap game, releasing DJ Jimi's debut single, the bounce classic "(The Original) Where Dey At?" Seemingly overnight, a number of cottage industry labels sprang up, including Big Boy, Cash Money, Parkway Pumpin, Slaughterhouse, Take Fo' and Untouchable. None of them except Cash Money lasted into the new millenium. But for a time, they collectively produced and recorded some of the most overlooked and greatest rap of the decade and routinely outsold nationally-promoted rappers of the day, helping turn the tide toward the south.

Posted by Eric Brightwell on June 15, 2009 at 06:05pm | Post a Comment

Ya Hoidz Me? - Talk About Bounce Music

music, documentaries, cassettes, vinyl, CDs, DVDs
Uptown New Orleans

For some reason, the Bounce scene, born nearly 20 years ago, seems to be undergoing a minor critical reassessment as it inspires curiosity in a new generation of fans amongst the young, the Euro, the old and new. I can only guess why. I suspect that part of it is a development of the ongoing, time-delayed, middle class fascination with vulgar, good-time booty, that, as with booty bass, gogo, ghettotech and juke house before, takes a little longer to catch on beyond the music's traditional base. Or perhaps it’s just the curiosity factor due to the prevalence of so many openly gay rappers, who have been the subject of articles in The Village Voice, The Guardian and The New York Times -- although their readers are unlikely to run out and buy the latest
Sissy Rap record. There was even a piece on Bounce for NPR’s stomach-turning attempt at hipness, What's the New What? ...Just the title of that show makes me feel like I've been kicked where it hurts.


On the other hand, sites like
Louisiana Rap, Nola Bounce and Twankle and Glisten have done a good job in documenting the scene and suggest a much deeper, more honest appreciation that makes me happy. I'll be honest, the idea of a politician claiming to like Bounce would make me die a little inside. Yet, I’d love it if all these underappreciated, undercredited artists who made Bounce happen got some well-deserved acknowledgment and attention. With films like Ya Heard Me documenting the scene and Youtubers like 1825 Tulane Ave and Whatheallman tirelessly keeping Bounce in your ear, I guess I can live with the idea that some ironic, comb-over-wearing member of the Dumpster Click is going to be into it too. Anyway, for the time being, if you look up "New Orleans Bounce" on Youtube, you're (currently, at least) unlikely to be confronted with the image an American Apparel/Vice Magazine disaster doing the Eddie Bow.

Posted by Eric Brightwell on March 20, 2009 at 12:01am | Comments (1)
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